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对于“传统绘画”的认识,千万不能将“临过了”与“懂了”画上等号。这也和读书一样,如果对《论语》《周易》等经典我们能一读就懂,那衡量大学问家的唯一标准是读书的数量。画家对传统绘画的懂,要在他的画里显示出来。如果仅能依样画葫芦地摆出些符号,充其量也只能算懂些皮毛。对于每个画家来讲,“笔墨”是有的,因为这是他赖以表达自己感受的语言。这种“笔墨”语言伴随着他认识的提高,由幼稚走向成熟,由简单趋于复杂,由“传移摹写”的模仿到直抒自己的胸臆,这种缓慢艰难的进程,非亲身经历者是不得而知的。
For the recognition of “traditional painting ”, we must not equate “over” with “understand”. This is like reading a book. If we can read through the classic classics such as the Analects of the Chou, the Book of Changes, the only criterion for measuring university homework is the number of books studied. The painter’s understanding of traditional painting is to be shown in his paintings. If you can only put on some symbols according to the picture, at best, can only understand some fur. For each painter, there is a “pen and ink” because this is the language on which he expresses his feelings. This kind of “pen and ink” language is accompanied by an increase in his understanding, from naive to mature, from simple to complex, from “copy” to imitate the direct expression of his own mind, this slow and difficult process, non Personal experience is unknown.